;-NRLF 


SB 


LIBRARY 

OF  THE 

UNIVERSITY  OF  CALIFORNIA. 


Class 


^'S  FUKfl 


MORRIS  DANCERS  AS  DEPICTED  IN  AN  OLD  STAINED  GLASS  WINDOW 
IN  A  HOUSE  AT  BETLEY,  STAFFORDSHIRE,  ENGLAND 


THE  MORRIS  DANCE 

DESCRIPTIONS  OF 

ELEVEN  DANCES 

AS  PERFORMED  BY 

THE  MORRIS-MEN 

OF 

ENGLAND 


EDITED  BY 


JOSEPHINE  BROWER 


PRICE    ONE    DOLLAR 


NEW   YORK:   THE  H.  W.  GRAY   COMPANY 
SOLE  AGENTS  FOR 

NOVELLO  &  CO.,  Ltd.,  London 


LIBRARIAN'S  FUND 


Copyright,  1910,  by  JOSEPHINE  BROWER 


Reproduced  by  permission  of  Mr.  Wni.  Heinemann.  from  "A  History  of  Dancing"  by  G.  Vuillier. 

CONTENTS 

THE  DANCE 

PAGE 

The  tJXCorris  Step — 'Positions — DoWn-and-Back  and  Up-and-Back~r  The  Chain 
The  Cross-Over — fBack-to-{F$ack — Qo-and-Come — The  Ring — Steps— The 
Jump — The  Hands  Sticks  The  Call— Length  of  Dances 5 

SPECIAL  INSTRUCTIONS 

^eon-Setting — Rigs    o'  ^Carlow — Shepherd's    Hey — Constant   {Billy — Country 

Qardens— Bluff  King  Hal— How  T)'ye  T)o 1  7 

NOTATION 

ic^  Dances:  Bean-Setting — Rigs  o'  Marloro — Shepherd's  Hey — Constant  Billy. 
Handkerchief  'Dances:  Country  'Dances — {Bluff  King  Hal — ^Blue-Eyed 
Stranger.  Corner 'Dances :  How  D'ye  Do — Laudnum  punches — Trundles. 
Morris  Off....  22 


NOTE — These  descriptions  are  taken   by   permission  from  the   work  of 
Messrs.  Cecil   Sharp   and  Herbert  C.   Macilwaine 


The  original  music  used  for  these  Dances  can  be  obtained  from  the  Publishers 

Price  One  Dollar 


217135 


X 


THE  MORRIS  DANCE 


THE    MORRIS    STEP 

The  Morris  step  is  sturdy.     It  is  alike  throughout  all  the  dances. 
The  jump  in  many  cases  begins  and  ends  a  figure. 
The  letters  L  and  R  signify  Left  and  Right  foot. 

Steps  used  in  4-time  music : 

THE  4/1  STEP 
Beats     1234 


Beats 


Steps 


Steps    L      R      L       R 


THE  4/2  STEP 

341  2 


L         L  R         R         L 

THE  4/3  STEP 
Beats         12341  2 


R  R 


3'4 


Beats 


Steps 


"/L  ft  3F     . 

^  *  i 

*  •  «  j  j  « 

VM1       2        J 

=p  —  f  — 

— 

Up_J= 

p  «       m  •  9 

«7 
Steps         L 

!           1 
R       L       L 

R    L 

R      R 

THE 

4/4  STEP 

I                     2 

3 

4          i 

2               34 

f  -        !•      * 

•    •     f 

. 

*— 

k= 

m 

-^=E-=C  r  *  r-8- 

R 


R 


R         R 


Steps  used  in  6-time  music : 

THE  6/1  STEP 


Beats  12345      6123456 

Steps  L  R  L  R 


Beats 


456 


S:eps  L 


L     R 


R     L 


L     R 


R 


THE  6/3  STEP 


Beats 


123456123456 


Steps 


The  4/3  and  6/3  steps  are  the  same. 

In  the  steps  most  used  the  raised  foot  is  thrust  forward  so  far  that  the 
forward  heel  is  the  length  of  the  dancer's  foot  in  advance  of  the  supporting 
foot. 

In  the  high  step,  used  chiefly  in  the  figures  called  "Capers,"  the  forward 
foot  is  raised  as  high  as  the  knee.  The  Caper  step  is  called  in  the  Notation : 
High. 

POSITIONS 

The  Morris  set,  or  side  of  six,  when  in  position  for  dancing,  stands  in  the 
positions  as  shown  hereunder. 

The  only  exception  to  these  is  the  Ring. 


V 


V 


V     V 


'> 


COLUMN 


FRONT 


In  Column,  the  dancers  stand  in  two  files  and  all  face  the  same  way. 
This  is  called  in  the  Notation :   Column  or  Col. 


In  Front,  the  dancers  face  each  other  in  pairs. 

This  is  called  in  the  Notation:    Front  or  Fr. 

The  dancers  in  each  file  stand  so  far  apart  that  when  arms  are  extended, 
the  hands  of  each  will  overlap  his  neighbours  hands. 

The  distance  between  the  files  varies  according  to  the  dance. 

In  Stick  and  Handkerchief  dances,  pairs  stand  near  enough  to  clap  hands 
or  tap  sticks  with  each  other. 

In  Corner  dances,  the  files  stand  far  enough  apart  to  give  plenty  of  room 
for  the  necessary  movements. 

In  the  Notation  the  term  "Partners"  is  used  to  denote  the  pairs  as  they 
stand  fronting  or  abreast : 

Numbers  One  and  Two 
Three  "  Four 
Five  "  Six 

The  term  "Opposites"  is  used,  in  referring  to  couples  when  they  must 
change  places,  or  re-change,  as  in  Corners  and  Capers : 

Numbers  One    and  Six 
Two      "     Five 
Three   "     Four 

Number  One  is  the  leader  of  the  side  and  it  is  his  duty  to  call  loudly  and 
clearly  the  figures :  "Chain,"  "Cross-Over,"  "Back-to-Back,"  and  so  forth,  and 
to  announce  the  end  of  the  dance  by  the  call  "All  in." 

In  some  dances,  as  "Bean-Setting,"  the  side  forms  a  Ring  and  many 
dances  end  in  this  formation. 

This  is  marked  in  the  Notation :    Ring. 

DOWN-AND-B ACK  AND  UP-AND-B  ACK 

This  movement  is  danced  as  follows : 

The  side  stands  in  Column,  and  starts  by  advancing  for  the  first  two  bars, 
and  retiring  for  the  second  two  bars.  Each  file  advances  and  retires  its  own 
length. 

The  two  bars  advancing  are  made  according  to  the  time  of  the  music, 
either  at  4/3  or  6/3  step. 

The  two  bars  retiring  are  made  at  4/2  or  6/2  step. 

The  whole  movement  is  made  in  eight  bars. 

In  one  dance,  "Rigs  o'  Marlow/'  the  second  four  bars  are  danced  the  same 
way  as  the  first  four :  but  in  all  the  others  the  Column  is  reversed  at  the  end 
of  the  first  four  bars. 

The  two  ways  of  executing  the  movement  are  marked  in  the  Notation  as 
follows : 

7 


1.  AYhen  the  side  is  to  advance  and  retire  twice,  without  reversing  at  the 
end  of  bar  4,  and  is  to  form  Front  at  the  end  of  bar  8,  it  is  marked  in  the 
Notation : 

MUSIC  MOVEMENTS  FORMATION 


A.  Down-and-Back   twice,  then   j.  Column 

forming  Fr.  Col.  to  Fr. 

2.  When  the  side  is  to  advance  and  retire,  reversing  the  positions  at  the 
beginning  of  bar  5,  and  in  bars  5  to  8  facing  the  opposite  way,  then  at  the  end 
of  bar  8,  forming  Front,  it  is  marked  in  the  Notation : 

MUSIC  MOVEMENTS  FORMATION 


Down-and-Back  Ju.  Column 

Cp-and-Back  j.  forming  Fr.  Col.  to  Fr. 

THE   CHAIN 

This  movement  is  completed  in  eight  bars. 

To  begin  the  Chain,  the  side  stands  in  Column. 

Numbers  One  and  Two  turn  outward  and  go  forward  in  S-shaped  double 
curves,  passing  the  places  of  Numbers  Three  and  Four  and  finishing  in  the 
places  of  Numbers  Five  and  Six. 

Thus : 


Number  Three  follows  the  figure  of  a  circle,  in  the  second  half  of  which 
he  is  following  the  first  half  of  Number  One's  track. 

Number  Four  follows  the  figure  of  a  circle,  in  the  second  half  of  which 
he  is  following  the  first  half  of  Number  Two's  track. 

8 


Thus: 


V     V 


Numbers  Five  and  Six  turn  outward  and  go  forward  in  double  curves  as 
Numbers  One  and  Two — passing  the  places  of  Numbers  Three  and  Four. 
Thus: 


5 
5 
5 


5 


5     6 


Movements  in  first  half  of  the  Chain : 


At  end  of  bar  2, 

Number  Five  should  be  at   Number  Threes  place. 

{       One  should  have  passed  Number  Three's  place. 

Three  should  be  coming  to  Number  Three's  place,  so  that 

Five  passes  between  Numbers  One  and  Three. 

Six  should  be  at  Number  Four's  place. 

Two  should  have  passed  Number  Four's  place. 

Four  should  be  coming  to  Number  Four's  place,  so  that 

Six  passes  between  Numbers  Two  and  Four. 


10 


Positions  at  end  of  first  half  of  Chain : 


<4 


5> 


In  the  second  half  of  the  Chain,  the  same  positions  are  observed.     The 
movements  are  simply  reversed. 

Numbers  One  and  Two  turn  outward  and  are  followed  by  Numbers  Three 
and  Four  on  the  lines  of  the  figure  eight. 

Numbers  One  and  Two  return  to  original  places  along  the  double  curves 
travelled  in  the  first  four  bars  by  Numbers  Five  and  Six. 

Number  Three  follows  the  figure  of  a  circle  passing  Number  Five's  place. 
Number  Four  follows  the  figure  of  a  circle,  passing  Number  Six's  place. 

Numbers  Five  and  Six  turn  outward  and  return  to  original  places  along 
the  double  curves  travelled  in  the  first  four  bars  by  Numbers  One  and  Two. 

11 


<;66V22 
5.     SjM/* 

^  S    6   4.  .4   2  \ 

)V  5  6  |f          )4   2  ] 

4  2  * 
4A*~  2 

4tf 


At  the  end  of  bar  2, 
Number  Five     should  be  at  Number  Three's  place. 

One      should  have  passed  Number  Three's  place. 
Three  should  be  coming  to  Number  Three's  place,  so  that 
Five     passes  between  Numbers  One  and  Three. 
Six       should  be  at  Number  Four's  place. 
Two     should  have  passed  Number  Four's  place. 
Four    should  be  coming  to  Number  Four's  place,  so  that 
Six       passes  between  Numbers  Two  and  Four. 

At  the  end  of  the  second  half  of  the  Chain,  the  dancers  have  returned  to 
to  original  places. 

At  the  middle  and  completion  of   the   Chain,   all   turn   inward   and   face 
partners  as  they  jump. 

This  is  called  in  the  Notation  :    Chain. 


THE  CROSS-OVER 

This  is  danced  in  Front  formation  to  eight  bars  of  music  as  follows  : 
In  the  first  two  bars  each  dancer  crosses  over  and  takes  the  place  of  his 
partner,  passing  right  shoulder  to  right  shoulder. 


In  bars  3  and  4  all  come  to  the  right-about :  that  is,  face  inward  again. 

In  bars  5,  6,  7,  and  8  all  cross  over  again,  bringing  the  side  back  to  original 
places,  partners  facing. 

As  there  are  two  bars  to  turn  in  after  crossing  over,  the  dancers  should  turn 
slowly  and  evenly  so  that  the  turn  is  completed  just  in  time  for  the  jump  in 
bars  4  and  8. 

This  is  called  in  the  Notation :    Cross-Over. 


BACK-TO-BACK 

This  movement  is  completed  in  eight  bars. 

In  the  first  four  bars  partners  advance,  right  shoulder  to  right  shoulder, 
but  not  touching,  pass  one  another,  move  to  right,  re-pass  partners,  left  shoulder 
to  left  shoulder,  and  come  back  to  original  positions  moving  backward. 

Thus : 


In  the  second  four  bars,  partners  advance,  left  shoulder  to  left  shoulder, 
pass,  move  to  left,  re-pass  partners,  right  shoulder  to  right  shoulder,  and  come 
back  to  original  positions,  moving  backward. 

13 


This  is  called  in  the  Notation :    Back-to-Back. 

GO-AND-COME 

This  is  a  form  of  the  Cross-Over,  but  made  without  turning. 

It  is  danced  in  Front  formation,  to  eight  bars  of  music. 

In  the  first  two  bars  partners  cross  exactly  as  in  the  Cross-Over,  right 
shoulder  to  right  shoulder. 

In  bars  3  and  4,  instead  of  turning,  dance  backward  to  places  in  the  same 
line  on  which  the  Cross-Over  was  made,  right  shoulder  to  right  shoulder. 

In  bars  5  and  6  cross  again,  but  left  shoulder  to  left  shoulder,  and  in  bars 
7  and  8,  dance  backward  to  places  in  the  same  Kne.  left  shoulder  to  left  shoulder. 

This  is  called  in  the  Notation :    Go-and-Come. 

THE  RING 

In  this,  partners  simply  alter  positions  so  that  the  whole  side  forms  a 
circle. 

It  is  sometimes  used  at  the  finish  of  a  dance. 
In  Bean-Setting,  it  occurs  at  the  beginning. 
It  is  called  in  the  Notation :    Ring. 

14 


STEPS 

Unless  instructions  are  given  to  the  contrary,  the  step  used  in  bars  1  and 
2  of 

Chain 

Cross-Over 

Back-to-Back 

Go-and-Come  « 

is  always  4/3  or  6/3  according  to  time,  and  4/2  or  6/2  in  bars  3  and  4 :  likewise, 
4/3  or  6/3  in  bars  5  and  6  and  4/2  or  6/2  in  bars  7  and  8. 

THE  JUMP 

The  jump  is  used  in  two  ways. 

1.  In  position.    That  is,  the  dancer  jumps  where  he  stands  without  chang- 
ing front. 

This  is  called  in  the  Notation :    Ju. 

2.  To  make  a  half-turn,  half-right  or  half-left. 
This  is  called  in  the  Notation :   j . 

Every  dancer  whose  turn  it  is  to  execute  any  movement  jumps  on  the  last 
half-bar  before  the  movement  begins. 

This  applies  to  the  whole  side,  or  to  any  pair  of  opposites  about  to  dance  a 
figure.  For  instance,  when  the  whole  side  dances  Down-and-Back  and  Up-and- 
Back,  on  the  last  half-bar  of  "Once  to  Yourself"  all  jump  together — then  start 
the  figure. 

Also  in  all  figures  danced  by  the  whole  side,  in  common  as  in  Chain,  Cross- 
Over,  Back-to-Back,  Go-and-Come,  all  jump  together  on  last  half-bar  before 
the  figure  begins. 

In  Down-and-Back,  Ju.,  Up-and-Back,  j.  forming  Front,  the  side  goes 
forward  and  back  for  four  bars :  jumps  together  on  half-bar  of  bar  4  still  facing 
in  the  same  direction. 

That  completes  Down-and-Back,  Ju. 

Then  all  make  a  complete  turn  to  the  right,  dance  as  before  in  bars  5  to  8, 
and  on  last  half-bar  of  8  all  jump,  facing  partners. 

That  completes  Up-and-Back,  j.  forming  Front. 

The  Chain,  though  it  is  executed  in  Column  formation,  follows  upon  a 
figure  danced  in  Front  formation.  The  jump  before  beginning  the  Chain,  is 
made  Front. 

The  Cross-Over,  Back-to-Back,  Go-and-Come,  are  all  danced  in  Front 
formation.  The  whole  side  jumps  in  position,  Ju.,  at  half-bar,  in  bars  4  and  8. 

In  Bluff  King  Hal,  and  Morris  Off,  there  is  no  Jump  at  all. 

15 


THE  HANDS 

In  all  Handkerchief  and  Corner  dances,  a  scarf  or  handkerchief  is  carried 
in  each  hand. 

The  movements  of  the  hands  in  these  dances  are  as  follows : 

In  making  the  Jump,  the  hands  are  thrown  above  the  head. 

In  Down-and-Back  and  Up-and-Back,  Chain,,  Cross-Over,  Back-to-Back, 
Go-and-Come,  movements  of  the  hands  are  always  the  same. 

That  is :  Commencing  with  the  preliminary  Jump  when  the  hands  are 
above  the  head,  on  the  beginning  of  the  first  bar,  with  the  first  step  (4/3  or  6/3) 
the  hands  are  swung  backward :  forward  on  half-bar :  back  again  on  the  begin- 
ning of  bar  2  and  forward  on  half-bar  of  2.  In  bar  3  (4/2  or  6/2  step)  the 
hands  being  already  upward  and  forward — are  swung  twice  in  a  circle,  so  that 
the  handkerchiefs  are  waved  in  a  double  circle  over  the  head.  At  the  beginning 
of  bar  4,  the  hands  are  lowered  straight  in  line  with  the  body,  and  at  the  half- 
bar  of  4,  with  the  Jump,  they  are  thrown  above  the  head. 

These  movements  of  the  hands  are  always  the  same  in  every  Handkerchief 
and  Corner  dance. 

In  Capers,  wherever  the  4/1  or  6/1  high  step  is  used,  the  hands  are  swung 
backward  on  the  beginning  of  the  bar — forward  and  upward  on  half-bar :  and 
this  movement  is  continued  all  the  time  the  high  step  4/1  or  6/1  is  used. 

STICKS 

The  stick  or  staff  used  in  Stick  dances  is  about  eighteen  inches  in  length. 
It  is  sometimes  adorned  with  a  bunch  of  ribbons. 

THE  CALL 

At  the  end  of  some  dances  the  side  is  instructed  to  "Call."  This  means 
that  on  the  last  half-bar  all  shout  "Hey !" 

LENGTH  OF  DANCES 

The  Morris-men  vary  the  length  of  their  dances.  It  is  a  very  simple 
matter  to  lengthen  or  abbreviate  them. 


SPECIAL     INSTRUCTIONS 


BEAN-SETTING 

The  dance  begins  with  the  Ring. 
The  side  starts  in  Column. 

To  form  Ring,  Numbers  One,  Three  and  Five  face  out  and  back. 
All  dance  around  in  a  circle. 

Numbers   One,   Three   and   Five   follow   Numbers    Six,    Four   and   Two, 
while  Numbers  Two,  Four  and  Six  follow  them. 
At  the  end  of  the  first  half  of  the  Ring, 

Number  Two     should  be  at  Number  Five's  place. 

Four  Three's    " 

"     .     Six  "  "  "  One's 

One          "          "          "          Six's 
Three       "  Four's      " 

Five  "  Two's      " 

In  bar  4,  files  close  in  slightly  and  tap  sticks  across  on  half-bar  of  bar  4. 
In  the  remaining  four  bars  of  A  music,  all  return  to  former  positions,  fol- 
lowing the  Ring. 

In  half-bar  of  8,  tap  sticks  again. 

DIBBING 

This  is  the  term  used  in  the  dance,  as  it  is  used  in  field  and  garden  work, 
for  making  a  hole  with  a  dib  or  dibber  in  the  soil. 

In  dibbing  (see  Q  in  music)  all  stoop  forward,  holding  the  right  hands 
outward  with  sticks  pointing  to  the  ground.  Thump  the  stick  firmly  and  at 
once  lift  it  again. 

B. 

Bar  1         Dib  all  together  at  beginning  and  half-bar  as  shown  in  music    (  y  ) 
Bar  2         Remain  stooped  :  at  beginning  of  bar,  pairs  tap  sticks  across. 
Bar  3         Dibbing  as  in  bar  1. 
Bar  4         Beginning,  partners  tap  across :  half-bar  Number  Two  taps  Number 

Four. 
Bar  5         Beginning,  Number  Four  taps  Number  Six :  half-bar,  Number  Six 

taps  Number  Five. 
Bar  6         (9/8  time)    Beginning,  Number  Five  taps  Number  Three:  second 

beat,  Number  Three  taps  Number  One:  third  beat,  partners 

tap  across  as  in  bar  2. 

In  the  remaining  six  bars  of  B,  repeat  dibbing  and  tapping  as  in  the  first 
six  bars. 

17 


RIGS  O'  MARLOW 

The  following  diagram  shows  how  partners  tap  sticks  in  this  dance:    . 
Beats    123412341^234          1234 

'±2fr^-f^£rf:. 


Steps     LLLLRRRRLLLL          LRLR 
Sticks  tap    tap  tap    tap  tap    tap      tap    tap    tap    tap 

SHEPHERD'S  HEY 

In  this   dance,  the  sticks  are  loudly  clashed  together   on  the  first  three 
beats  of  bars  1  and  2,  and  5  and  6  of  B  music  (see  mark  X)- 

Partners   strike   each  other's  sticks,   right,   left,   right,   in   the  manner  of 
sham  fencing. 

While  the  tapping  is  being  done,  all  stand  fast,  not  dancing. 
In  bars  3  and  4  and  7  and  8,  all  dance. 

Hand-clapping  is  sometimes  used  in  place  of  stick-tapping,  according  to  ex- 
planation : 
Bar   1        Each  dancer  claps  both  hands  before  him,  slaps  right  knee  with  right 

hand,  claps  both  before  him. 
Bar  2        Each  dancer  claps  both  hands  before  him,  slaps  left  knee  with  left 

hand,  claps  both  before  him. 
Bar  3        Each  dancer  claps  both  hands  before  him,  claps  both  under  right  knee, 

both  before  him,  both  under  left  knee. 

Bar  4        Each  dancer  claps  both  hands   front,  4)oth  hands  back,  both  hands 
front. 

CONSTANT  BILLY 

Stick-tapping  in  this  dance  is  done  according  to  the  following  diagram 
(see  mark  X  m  music)  :  „ 

Beats    12345612     3456     123456     12     3456 


COUNTRY  GARDENS 

In  the  hand-striking  figure  in  this  dance  (for  hand-strokes,  see  mark  Q 
in  B  music)  there  are  four  movements  as  follows: 
Bar  1         Each  dancer  strikes  both  hands  together  twice.     Each  with   right 

hand  strikes  right  hand  of  partner. 
Bar  2         Each    dancer   strikes   both   hands   together   twice.      Each   with   left 

hand  strikes  left  hand  of  partner. 

Bar  3         Each  dancer  strikes  both  hands  together  twice.     Each  dancer  with 
right  hand  strikes  right  hand  of  partner. 


18 


Bar  4         Each  dancer  throws  arms  down.     Each  dancer  throws  arms  over 

head. 
The  letters  b,  r,  and  1  in  this  diagram  signify  both,  right,  and  left  hands. 

Beats       i        2341        2341 


::z-^p— — rz_-gj=— rz=._fr._      — pE= 

iii-S^  ^P~-M'  ~B  —  *>s|~~|~.— :  — 


Hands    b        b       r  b        b        1 

Steps       LLLLRRRR 


b        b       r  down 

L       L       L       L    Both 


over 
head 
Jump. 


BLUFF  KING  HAL 

In  this  dance  the  step  is  4/3  throughout.  It  should  be  danced  something 
after  the  fashion  of  "Morris  Off" — evenly  and  quietly. 

HOW  D'YE  DO 

This  dance  illustrates  the  method  of  settling  quarrels — by  a  bout  of 
fisticuffs. 

The  phrase  "How  d'ye  do,  Sir?"  is  always  sung  by  all  the  dancers  as 
marked  in  music  B.  There  is  plenty  of  room  for  a  different  sounding  of 
the  phrase  as  expressive  of  challenge,  strife,  victory,  or  defeat. 

Opposite  pairs  advance  as  shown,  shake  hands,  or  square  up  for  the  fight 
according  to  instructions. 

Having  joined  hands,  or  squared  and  paused  in  the  center,  the  first  two 
pairs  return  to  their  places  immediately  after  the  pause,  making  room  for  the 
next  pair.  The  last  pair  (Numbers  Three  and  Four)  remain  in  position, 
holding  hands  or  squaring  up,  during  the  pause  in  the  music,  while  bars 
4  and  5  of  B  are  played. 

During  these  bars  all  the  other  dancers  stand  still. 


19 


NOTATION 


STICK  DANCES 


BEAN-SETTING 


MUSIC 


MOVEMENTS 


FORMATION 


Once  to  your- 
self 

A. 
1st  time 


B. 

1st  time 

A. 
2nd  time 


B. 

2nd  time 

A. 
3rd  time 

B. 

3rd  time 


Once  to  your- 
self 

A. 

1st  time 


In  this  dance,  the  step  throughout  is  4/2. 
Partners  tap  across  on  last  half-bar.  Column 


Ring. 

Partners  tap  across  at  half-bar  in  bars  4 1     Col.  to  Ring 
and  8. 


Dibbing  (see  page  17). 

Cross-Over. 

Partners  tap  across  at  half-bar  in  bars  4 
and  8,  that  is,  at  middle  and  end  of  Cross- 
Over. 

Dibbing. 

Back-to-Back. 

Tap  as  in  A  2nd  time.    , 

Dibbing. 

All,  as  they  tap  for  the  last  time,  j .  outward, 

forming  Column,  and  stand  for  a  moment 

with  sticks  crossed. 

All  in. 


RIGS  O'  MARLOW 
Tap  sticks  on  last  two  beats  of  bar  4. 


Step  4/2  throughout  A  music  in  all  repeti- 
tions. 

Down-and-Back  twice. 

Partners  tap  sticks  across  on  last  two  beats 
of  bars  4  and  8. 

On  making  last  tap  but  one,  j.  forming  Fr. ,     Col.  to  Front 
so  that  final  tap  is  given  in  Front  forma- 
tion. 

22 


Front 


Front  to  Col. 


Column 


MUSIC 


MOVEMENTS 


B. 

1st  time 

A. 
2nd  time 

B. 

2nd  time 

A. 
3rd  time 

B. 

3rd  time 

A. 
4th  time 

B. 

4th  time 


FORMATION 


Double-tapping  (see  page  18). 

Chain. 

Tap  sticks  as  in  A  1st  time. 

Double-tapping,  as  in  B  1st  time. 

Cross-Over. 

Tap  sticks  as  in  A  1st  time. 

Double-tapping,  as  in  B  1st  time. 

Back-to-Back. 

Tap  sticks  as  in  A  1st  and  2nd  time. 

Double-tapping  as  in  B   1st  and  2nd  time. 
In  bar  7  all  j.  giving  Col.   formation  in 
which  final  tap  is  made. 
All  in. 


SHEPHERD'S  HEY 


Once  to  your-      Ju.  last  half-bar, 
self 

Al. 


Bl. 
A2. 
B2. 

Al. 
Bl. 
A2. 
B2. 

A3. 

A3. 

Repeat 
(Presto) 


Front 


Column 


Column 


Col.  to  Fr 
Front 
Column 
Front 


Down-and-Back,  Ju. 

Up-and-Back,  j.  forming  Fr. 

Tapping  or' Hand-clapping  (see  page  18). 

Chain. 

Tapping  or   Hand-clapping. 

Go-and-Come. 

Tapping  or   Hand-clapping. 

Back-to-Back. 

Tapping  or  Hand-clapping. 

Go-and-Come.    j.  on  last  half-bar  to  Col. 


Dance   at  4/3,   quick-step,   in   position:   all       Column 
Ju.  on  last  half-bar  and  throw  up  both 
hands. 

All  in. 
23 


CONSTANT  BILLY 


MUSIC 


Once  to  your- 
self. 

Al. 


Bl. 

Bars  1  to  4 

Bars  5  to  8 

Bars  9  to  12 

Bars  13  to  16 

A2. 

B2. 

Bars  1  to  4 

Bars  5  to  8 
Bars  9  to  16 

A3. 
Bars  1  to  4 

Bars  5  to  8 

B3. 
Bars  1  to  8 

Bars  9  to  12 
Bars  13  to  16 


MOVEMENTS 


Partners  tap  across,  last  half-bar. 

Down-and-Back,  Ju. 
Up-and-Back,  j.  forming  Front. 
Partners  tap  at  half-bar  in  bars  4  and  8. 

Tapping  (see  page  18). 

Half-Chain.     Tap  on  half-bar  in  bar  8. 

Tapping,  as  in  first  4  bars. 

Complete  Chain.     Tap  on  last  half-bar. 

Chain.     Tap  at  half-bar  in  bars  4  and  8. 

Tapping  as  before. 
Tapping  as  before. 

Cross-Over.  Tap  at  half-bar  in  bars  12 
and  16. 

Tapping  as  before. 
Tapping  as  before. 
Back-to-Back.     Tap  as  in  Chain. 
Tapping  as  before. 

Tapping  as  before:  in  bar  16  all  j.  to  Col., 
and  tap  across  on  last  half-bar,  holding 
sticks  as  at  the  beginning. 

All  in. 
24 


FORMATION 


Column 


Col.  to  Front 


Column 

Front 

Column 


Front 


Front 


Column 


HANDKERCHIEF  DANCES 


COUNTRY  GARDENS 


MUSIC 


MOVEMENTS 


Once  to  your- 
self 

Al*. 

Bl. 

Bars  1  to  4 

Bars  5  to  8 
Bars  9  to  12 
Bars  13  to  16 

Cl. 

B2. 

Bars  1  to  4 

Bars  5  to  8 
A2. 

B3. 

Bars  1  to  4 

Bars  5  to  8 
C2. 

B4. 

Bars  1  to  4 

Bars  5  to  7 
Bar  8 


FORMATION 

Column 
Col.  to  Front 

Front 
Column 
Front 
Column 


Front 


Ju.    last   half-bar. 

Down-and-Back,  Ju. 
Up-and-Back,  j.   forming  Fr. 

Hand-striking   (see  page   18). 

Half-Chain. 

Hand-striking. 

Half-Chain.     This  completes  the  Chain. 

Chain. 

Hand-striking. 
Hand-striking  repeated. 

Cross-Over. 

Hand-striking. 
Hand-striking  repeated. 

Back-to-Back. 

Hand-striking. 
Hand-striking  repeated. 


Beat  1,  all  j.  giving  Col.  formation.     Half-       Column 
bar,  all  throw  up  hands  and  Call. 

All  in. 


26 


BLUFF  KING  HAL 


MUSIC 

A. 

Bars  1  to  4 


MOVEMENTS 


FORMATION 


Advance  slowly,  until  files  are  face  to  face.       Front 
On  half-bar  of  bar  4,  partners  nod  to  one 
another. 


Bars  5  to  8 

B. 

Bars  1  to  4 
Bars  5  to  8 

C. 

Bars  1  to  4 
Bars  5  to  8 

A. 

Bars  1  to  4 
Bars  5  to  8 

B. 

Bars  1  to  4 
Bars  5  to  8 

C. 

Bars  1  to  4 
Bars  5  to  8 

A. 

Bars  1  to  4 

Bars  5  to  8 

B. 

Bars  1  to  4 
Bars  5  to  8 

C. 

Bars  1  to  4 
Bars  5  to  8 


Retire  to  original  position. 

Mark  time. 

Advance  and  nod  as  before. 

Retire. 

Mark   time.      Files   link   arms   in   last   bar, 
and  remain  linked  until  told  to  loose  arms. 

Advance  as  before,  nod. 
Retire. 

Mark  time. 

Advance  as  before,  nod. 

Retire. 

Loose  arms.     Files  turn  very  slowly  about 
until  they  are  reversed. 

Retire    until    partners'    backs    are    all    but      Front 

touching-. 
Advance  to  original  positions. 


Mark  time. 
Retire  as  before. 

Advance  as  before. 

Mark   time.      Link   arms   in   last   bar,   and 
remain  linked  until  told  to  loose  arms. 


A.  B.  Same  movements,  arms  linked  as  in  preced- 

ing A  and  B.     Loose  arms  at  end  of  B. 


27 


MUSIC 


MOVEMENTS 


FORMATION 


c. 


Files  extend  into  single  line.  To  do  this, 
Numbers  One  and  Two  advance,  Num- 
bers Four  and  Six  follow  Number  Two, 
Numbers  Three  and  Five  follow  Number 
One. 

All  are  in  line,  with  Numbers  One  and  Two 


Line 


at  wings,  Numbers  Five  and 

Distance  between 

dancers  tc 

same  as  when  in 

file. 

A. 

Bars  1  to  4      Mark  time. 

Bars  5  to  8 

Advance. 

B. 

Bars  1  to  4 

Retire. 

Bars  5  to  8 

Mark  time. 

C. 

Bars  1  to  4 

Advance. 

Bars  5  to  8 

Retire.     Link  arms 

in  last  bar 

A.  B. 


C. 


Mark  time,  advance  and  retire  linked,  and 

mark  time,  as  in  preceding  A  and  B. 
In  last  bar,  loose  arms  and  join  hands. 


Move   to 
circle. 


right,    dancers   making   complete 


to  8 


Move  to  left,  dancers  nearly  travelling  round 
circle  again.  ' 


Numbers  Five  and  Six  loose  hands.  Num- 
ber Five  joins  hands  with  Number  One 
and  Number  Six  with  Number  Two, 
forming  two  Rings,  one  to  each  file.  Each 
Ring  will  form  round  about  the  line  of 
position  of  its  numbers  when  in  file. 

28 


Line. 


Form  into  Ring:    Numbers  One  and  Two       Ring 
joining  hands  in  last  bar. 


Two  Rings 


MUSIC 


A. 

(8  bars)  and  B. 
Bars  1  to  4 

B. 

Bars  5  to  8  1 
and  C. 

Bars  1  to  4  J 

C. 

Bars  5  to  8 


A.  B.  C. 


A.  B.  C. 


A.  B.  C. 


A.  B.  C. 


A.  B.  C. 


A.  B.  C. 


MOVEMENTS 


FORMATION 


Rings  move  to  right,  as  single  Ring  previ-       Two  Rings 
ously,.  but  making  double  circuit. 

Rings  move  to  left,  as  single  Ring  previ- 1 
ously,  nearly  double  circuit. 


Rings   break   up   and   reform   line   of   6  as 
before. 


Line  mark  time,  advance,  retire,  etc.,  as  be- 
fore, link  arms  in  last  bar  C. 

Line  as  before,  linked.  Last  4  bars  of  C 
break  into  files,  in  original  position  in 
Front,  but  reversed  as  before. 

Files,  reversed,  mark  time,  retire,  advance, 
etc.,  as  before.  Link  arms  in  last  bar 
of  C. 

Files,  reversed,  mark  time,  retire,  advance, 
etc.,  as  before,  arms  linked.  Loose  arms, 
and  turn  slowly  about  in  last  4  bars  of  C 
forming  Front. 

Mark  time,  advance,  nod,  etc.,  as  before. 
Link  arms  in  last  bar  of  C. 

Mark  time,  advance,  etc.,  with  linked  arms, 
as  before.  The  dance  ends  quietly  on  the 
last  4  bars,  mark  time,  of  C. 

All  in. 
29 


Two  Rings 
to  Line 

Line 


Line 
Front 


BLUE-EYED   STRANGER 


MUSIC 

Once  to  your- 
self. 
Al. 

Bl. 

Bars  1  to  16 


A2. 
Bars  1  to  8 

B2. 
Bars  1  to  16 

Al. 
Bars  1  to  8 

Bl. 
Bars  1  to  16 

A2. 
B2. 

Bars  1  to  16 


MOVEMENTS 


FORMATION 


|Ju.  last  half-bar. 

Down-and-Back,  Ju. 
Up-and-Back,  j.  forming  Fr. 


Column 


Col.  to  Fr. 


All   dance   at  4/3   step   in   place,    swinging       Front 
hands  back  and   forth  together  in   time. 
Bars  7  and  8  and  15  and  16  to  be  danced 
in  4/2  step. 

Chain.  Column 

As  previously  in  Bl.  Front 

Cross-Over. 

As  previously  in  Bl. 

Back-to-Back. 

As  previously  in  Bl.  until  bar  15.  Fr.  to  Ring 

All  then  draw  into  Ring,  throw  up  hands  on 
half-bar  of  bar  16  and  Call. 

All  in. 

This  dance  may  be  shortened  by  dancing 
in  place  eight  bars  each  tiuiejinstead.of  si.r- 
teen. 


30 


CORNER  DANCES 


HOW  D'YE  DO? 


MUSIC 


Once  to  your- 
self. 

A. 
1st  time 

B. 

1st  time 
Corners 
Bar  1 
Bar  2 
Bar  3 
Bars  4  and  5 

A. 
2nd  time 

B. 

2nd  time 
Corners 
Bar  1 
Bar  2 
Bar  3 
Bars  4  and  5 

A. 
3rd  time 

B. 

3rd   time 
Corners 

A. 
4th  time 

B. 

4th  time 
Corners 

A2. 


MOVEMENTS 


Ju.  last  half-bar. 

Down-an-Back,  Ju. 
Up-an-Back,  j.  forming  Fr. 

This  is  the  Challenge. 

Numbers  One  and  Six  advance  and  shake 

hands.     (See  page  19.) 
Numbers  Two  and  Five  the  same. 
Numbers  Three  and  Four  the  same. 
Numbers  Three  and  Four  pause. 

Chain. 

This  is  the  Fight. 

Numbers  One  and  Six  advance  and  square 

up. 

Numbers  Two  and  Five  the  same. 
Numbers  Three  and  Four  the  same. 
Numbers  Three  and  Four  pause,  as  before. 

Cross-Over. 

This  is  the  Reconciliation,  and  goes  pre- 
cisely as  in  B  1st  time. 

Back  to  Back. 

This  is  Good  Fellowship,  and*  goes  precisely 
as  in  B  1st  and  3rd  time. 

Cross-Over.  As  usual  up  to  bar  7,  when  all 
close  into  Ring :  throw  up  hands,  raise 
right  feet  on  last  half-bar  and  Call. 

All  in. 


FORMATION 

Column 
Col.  to  Front 

Front 


Ring 


32 


LAUDXUM  BUNCHES 


MUSIC 


MOVEMENTS 


FORMATION 


Once  to  your- 
self. 
A. 


B. 

Corners 
Bars  1,  2  &  3 

Bar  4 


Ju.  last  half-bar. 

Ju.  last  half-bar. 
Down-and-Back,    Ju. 
Up-and-Back,  j.  forming  Fr. 


Column 


Col.  to  Front 


Numbers  One  and  Six  advance,  at  6/3  step,       Front 
and  cross  to  each  others'  places. 


Numbers  One  and  Six  having  now  changed 
corners,  turn  about,  inward  at  6/3  step : 
till  they  face  each  other. 


Bars  5  and  6  Numbers  One  and  Six  advance,  at  6/3  step, 
to  center,  until  they  are  face  to  face :  they 
do  not  touch  or  pass. 


Bars  7  and  8    Numbers  One  and  Six  retire,  at  6/2  step, 
back  to  corners :  and  Ju.  on  half-bar  of 
bar  8. 
They  have  now  changed  corners. 


B. 

Corners 
2nd  time 

B. 

Centers 
3rd  time 

A. 

Repeat 
B. 

Corners 
Repeat 
1st  time 


Numbers  Two  and  Five  change  corners  pre- 
cise!}' as  Numbers  One  and  Six  in  B. 

Numbers  Three  and  Four  change  places  pre- 
cisely as  the  others. 
Opposites  have  now  all  changed  places. 

^  A 
Chain. 


Column 


Numbers   One  and   Six  change  corners  as  |     Front 
before. 


33 


MUSIC 


B. 

Corners 
Repeat 
2nd  time 

B. 

Centers 
Repeat 
3rd  time 

A2. 

C. 

Capers 
1st  time 
Bar  1 
Bar  2 
9/8  time: 
3  beats 


Bar  3 


Bar  4 


Bar  5 
9/8  time: 
3  beats 
Bars  6  and  7 


Bars  8  and  9 


MOVEMENTS 


FORMATION 


Numbers  Two  and  Five  change  corners  as       Front 
before. 


Numbers  Three  and  Four  change  places  as 

before. 
Opposites  have  now  all  re-changed  places. 

Cross-Over. 


Numbers  One  and  Six  advance  at  6/3  step 
to  the  center,  facing  each  other's  corners. 


On  beat  2,  Numbers  One  and  Six,  their 
right  shoulders  now  level,  and  almost 
touching,  jump  heavily  on  both  feet  and 
advance  at  6/1  step,  High,  on  beat  3. 

Numbers  One  and  Six  continue  advancing 
6/1  High. 

Numbers  One  and  Six  reach  opposite  cor- 
ners and  turn  about  to  right  and  inward, 
same  step. 

Numbers  One  and  Six  advance,  6/1,  High, 
and  come  face  to  face  on  third  beat. 

I 

Numbers  One  and  Six  remain  facing,  and 
step  at  6/3  step. 

Numbers  One  and  Six  retire  to  corners  at 
6/2  step.  Ju.  on  half-bar  of  bar  9. 

Numbers  One  and  Six  have  now  changed 
corners. 


34 


MUSIC 


C. 

Capers 
2nd  time 

C. 

Capers 
3rd  time 

A2. 
Repeat 

C. 

Capers 
Repeat 


Once  to  your- 
self. 
Al. 

Bl. 

Corners 
1st  time 
Bars  1  to  3 

Bar  4 


Bl. 

Corners 
2nd  time 


MOVEMENTS 


FORMATION 


Numbers  Two  and  Five  change  corners  pre-       Front 
cisely  as  Numbers  One  and  Six  in  C  1st 
time. 

Numbers  Two  and  Four  change  places  pre- 
cisely as  the  others. 

Back-to-Back.  " 


Movements  as  in  first  Capers.  Opposites 
re-change  places.  But  at  the  beginning 
of  bar  6  of  3rd  repeat,  all  turn  inward,  at 
6/3  step,  form  Ring  in  the  center,  raise 
the  right  feet :  and  on  last  beat  all  throw 
up  hands  and  Call. 

All  in. 


TRUNKLES 
Ju.  last  half-bar. 

Down-and-Back,   Ju. 
Up-and-Back,  j.   forming  Fr. 

Numbers  One  and  Six  advance  at  4/3  step, 
beginning  with  left  foot,  so  that  they  are 
face  to  face  at  the  end  of  bar  3. 

At  beginning,  Numbers  One  and  Six  stamp 
right  feet.  Numbers  One  and  Six  raise 
and  swing  right  feet  and  on  half-bar, 
strike  them  together,  sidelong,  then  step 
quickly  backward  to  places. 

Numbers  Two  and  Five  do  precisely  as 
Numbers  One  and  Six  in  Bl  1st  time. 


Ring 


Column 


Col.  to  Fr. 


Front 


35 


MUSIC 


Bl. 

Centers 
3rd  time 
Cl. 

Capers 
1st  time 
Bars  1  and  2 
Bar  3 

Bar  4 


Bar  5 
Bar  6 


Cl. 

Capers 
2nd  time 

Cl. 

Capers 
3rd  time 

Al. 
Repeat 

Bl. 

Repeat 
3  times 

Cl. 

Repeat 
3  times 

A2. 

B2. 
3  times 


MOVEMENTS 


X umbers  Three  and  Four  do  precisely  as 
Numbers  One  and  Six  in  Bl  1st  time. 

Numbers  One  and  Six  advance  at  4/3  step, 

pass  in  center,  right  shoulders  touching, 

and  get  to  each  other's  places. 
Numbers  One  and  Six  turn  about,  inward 

and  to  the  right,  at  4/3  step. 
Numbers  One  and  Six  advance  at  4/3  step 

until  they  come  face  to  face,  but  do  not 

touch  or  pass. 
Numbers  One  and  Six  retire,  at  4/2  step, 

to  opposite  corners. 
Beginning,    Numbers    One   and    Six    reach 

opposite  corners.   Half-bar,  Numbers  One 

and  Six  Ju. 
Numbers  One  and  Six  have  now  changed 

corners. 

Numbers  Two  and  Five  change  corners,  as 
Numbers  One  and  Six  in  C  1st  time. 

Numbers  Three  and  Four  change  places  as 
Numbers  One  and  Six  in  C  1st  time. 

Chain. 

As  before,  but  start  with  right  foot  so  that, 
in  bar  4,  they  stamp  and  strike  together 
the  left  feet.  / 

As  before,  all  change  places  again,  return- 
ing to  original  places. 
Cross-Over. 

As  in  Bl.  Pairs  start  with  left  feet,  and 
stamp  and  strike  right  feet  in  bar  4. 


FORMATION 


Front 


Column 
Front 


36 


MUSIC 


MOVEMENTS 


FORMATION 


C2. 

Capers 
3  times 
Slower  except 
in    last   two 
bars,  played 
in     original 
time. 

A2. 
Repeat 

B2. 

Repeat 
3  times 

C2. 

Repeat 
3  times 
Capers 
Slower 
A3. 

B3. 

3  times 

C3. 

Capers 

3  times 

Bars  1,  2,  3, 
4,  in  each 
repetition 

(very  slow) 

Bars  5  and 
6  in  each 
repetition 
(presto) 

A3. 
Repeat 


As  in  Cl,  except  that  pairs,  in  changing 
places,  step  higher  to  the  slower  music, 
also  in  the  last  2  bars  of  normal  time.  The 
High  Step  is  to  be  reserved  for  the  Slow 
Capers  in  C3,  and  repeat. 


Back-to-Back. 

As  in  Bl,  repeat,  pairs  start  with  right  feet 
so  that,  in  bar  4,  they  stamp  and  strike 
the  left  feet. 

As  in  C2,  pairs  re-change. 


Cross-Over. 

As  in  Bl  and  B2.     Pairs  start  with  left  feet, 
and  stamp  and  strike  right  feet. 

As  in  Cl,  pairs  change  places. 

In  these  the  step  is  4/1  and  High. 


In  these  the  pairs  retire,  after  meeting  in 
center,  at  4/2  step,  lifting  the  feet  high. 
The  greater  the  contrast  between  these 
two  quick  bars  and  the  preceding  slow 
ones,  the  better  the  effect. 

Back-to-Back. 


Front 


37 


MUSIC 

MOVEMENTS 

FORMATION 

B3. 

Repeat 
3  times 

As  in  Bl  and  B2,  repeat,  pairs  start  with 
right  feet,  and  stamp  and  strike  left  feet 
in  bar  4. 

Front 

C3. 

Capers 
Very  slow 
Repeat 
3  times 

As  in  C3,  pairs  re-change  to  original  places. 
At  the  beginning  of  bar  5,  in  final  repe- 
tition of  the  music,  all  draw  together  into 
Ring,  throw  hands  above  heads  and  Call. 

te 

Fr.  to  Ring 
Ring 

All  in. 

MORRIS   OFF 

This,  as  the  name  denotes,  is  the  tune  to  which  the  dancers  step  as  they 
leave  the  scene. 

Its  execution  is  very  simple,  and  there  is  no  limit  to  the  number  of  times 
the  music  may  be  played.  The  leader  may  dance  back  and  forth  in  a  serpentine 
track,  round  and  round,  till  finally  they  wind  from  the  scene. 

The  step  is  4/3  throughout,  but  with  a  difference.  It  is  more  of  a  plod, 
with  less  stamping  and  much  less  lifting  of  the  feet. 

After  "Once  to  Yourself,"  the  side  marks  time  for  5  bars,  and  makes  a 
complete  right  turn  in  bars  7  and  8. 

Then  the  leader,  with  Numbers  Three  and  Five  behind  him,  starts  forward, 
Numbers  Two,  Four  and  Six  marking  time. 

As  Number  Five  draws  level  with  Number  Two,  he  falls  in  behind,  and 
Numbers  Four  and  Six  in  order  after  him. 

In  every  repetition  of  bars  7  and  8,  all  make  a  complete  right  turn,  waving 
scarfs  in  circles  above  the  heads  four  times. 


38 


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